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Full text of "Mack Sennett Weekly (March 15, 1920)"

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Permit No. 330 


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Paramount— Mack Sk aett Comedies © 


VOLUME 2. NO. 3 


MONDAY, Ma f : ti 15, 1920 


FIVE CENTS A COPY 
ONE DOLLAR A YEAR 


“Gingham Girl” Brings Her Duck 
And Takes Gay Whirl in Exclusive 
Social Circles in the Near Future 




Bevan the Butler wields the bat. Eva Thatcher stops it though that isn’t what she intended to do. Baldy Belmont and Isabelle Keep hope 
their Ma will live to see Baldy wedded to the Gingham Girl and daughter united to fickle Billy Armstrong. 


THE GINGHAM GIRL 
Cast of Characters 
Louise Fazenda.. . A Poor Relation 

Bert Roach Her Father 

Eva Thatcher Her City Aunt 

“Baldy” Belmont... A Scheming Son 

Isabelle Keep His Sister 

Billy Armstrong.. A Fortune Hunter 

Billy Bevan A Human Butler 

Director, James Davis 
Supervised by MACK SENNETT 


At the climax of an elaborate re- 
ception given by Eva Thatcher in 
honor of the approaching marriage of 
her daughter (Isabelle Keep) to 
Armstrong, there arrives Louise, the 
country cousin. She comes fresh 
from the farm with her trained duck 


under her arm. As an immediate re- 
sult of the duck’s unfamiliarity with 
the usages of polite society, Louise 
is banished to the kitchen. 

The bridegroom, belated, arrives 
pompously, effecting his entrance on 
the voluminous train of Thatcher. 
Louise emerges from the kitchen 
with a tray of tea. She recognizes 
the fortune hunter as a boarder that 
still owes her father a bill. Arm- 
strong denies he has ever flirted with 
the coy Louise and has no recollec- 
tion of the neglected board bill, 
either. Bevan the butler tries to 
console the slighted Louise and they 
set a picnic in the kitchen. 

The wedding preliminaries proceed 
upstairs. A letter meantime arrives 
from Louise’s father, stating that oil 


has been struck on her property, 
making her fabulously rich. The 
Aunt intercepts the letter, changes 
her tactics towards Louise, dresses 
her in costly garments and tells Bel- 
mont about Louise’s good fortune. 
Belmont proposes to Louise and is 
accepted. A double wedding im- 
pends — Armstrong vs. Isabelle and 
Belmont vs. Louise, is the way the 
“card” stands, until Bevan arrives to 
claim Louise. After a wild chase he 
and Belmont mix in a fight. Mean- 
while Armstrong finds the letter tell- 
ing of the luck of Louise, and im- 
mediately he too proposes, ordering 
the minister to perform the ceremony 
Bevan, thrown out of the house, 
forges a letter saying that the mes- 
sage about the oil is a ho8x.‘ He 


signs the name of Louise’s father, 
and sends it to Armstrong who reads 
it just as Belmont is demanding an 
explanation of the switch in bride- 
grooms. Louise, ignorant of the let- 
ters and of her own fortune, is or- 
dered off the premises by her Aunt 
who has also read the forged letter 
and believes it. Armstrong is re- 
stored to the arms of Isabelle. 

Louise’s father arrives in pomp and 
a Ford limousine. He inquires for his 
daughter, revealing proof of^ her 
wealth. This breaks up the At;m- 
strong-Keep romance once more and 
all set out in a frantic chase for 
Louise and the butler, but they do 
not overtake them until after the 
minister has made them man and 
wife. 




‘Home Never Like This,’ Louise and Duck Agree 


■■l 



Upper Picture: Left to right in foreground, Louise Fazenda, Isabelle 
Keep and Be'mont 

Lower Picture (left to right) Billy Bevan, Eva Thatcher, Baldy and 
Isabelle Keep. 


Only Trainer 
May Feed Teddy 

Teddy, the wonderful Mack Sennett 
comedy dog, does so many wonderful 
feats as an actor that he must be kept 
in perfect training. Everyone at the 
studio loves the big dog and all would 
like to feed him. So one of the posi- 
tive rules is that Teddy must NOT 
be fed, except by his trainer. 

The animal actors used in the Mack 
Sennett comedies require as much 
care and attention as a stage full of 
Metropolitan Grand Opera stars. If 
Pepper, the smartest cat in the world, 
is petted too much, Teddy, the smart- 
est dog in the world, goes into the 
sulks. If the bear is fed too much 
candy, the studio monkey gets peev- 
ish. Oh! these temperamental actors! 

day will fold up their tents like the 
Arabs” and be laughed away in the 
presence of Sennett comedy master- 
pieces in miniature. 

They have to move fast, these com- 
edy plots, to sustain the interest and 
attention of Reo employees — that’s 
why they picked Sennett’s. 


Well, Mary’s 

An Heiress 

A telegram came to the Sennett 
studio the other day which put one 
of the little bathing girls in the heir- 
ess class. The telegram said with 
simple brevity, “Oil.” 

It meant that, a little Texas ranch 
left her by her adoring grandfather 
had done its duty nobly. The screen 
name of the new lit.le heiress is “Mary 
Lee.” 

She says she doesn’t ha’dly think 
her family would like to have her 
real name used in motion pictures; so 
proposals of marriage will be exam- 
ined in the order of their arrival by 
“Miss Lee” who is a very charming 
and winsome little miss. 


Marie Prevost, a native of Mon- 
treal, is regarded by motion picture 
students as another evidence of Mack 
Sennett’s ability to pick winners. 
She is rapidly forging to the front as 
an artist of rare talents. 


Kalla Pasha as a sort of Julian El- 
tinge will flourish in skirts in “Fresh 
From the City” soon to be released. 
As an expression of fabulous comedy, 
this ex-wrestler in petticoats is a 
scream. 


ligence that soars high above that of 
all geese and most all other ducks. 
This is a fact that is amply proven 
when the duck encounters a punch 
bowl, loaded, on the mahogany cen- 
ter-table around which the fashion- 
able guests spend a suspiciously long 
time and from which they and Miss 
Quack retire with difficulty. 


The comedy possibilities of “rustic 
innocence” surrounded by city folk 
and fashion are never entirely ex- 
plored. Always there is something 
new to show or say and the type of 
“Rube” is familiar to all lands and 
people. Even in Australia they call 
’em “Hayseeds,” and Cincinnatus, you 
remember, has been chided for 
twenty centuries or so, on account 
of his boots that still had milk-stains 
on them when he took his seat in the 
Senate. 

Mack Sennett has found some new 
angles in the awkwardness of a coun- 
try belle landed plump in a swell 
social function. He has projected 
them in “The Gingham Girl,” and has 
given them to Louise Fazenda to car- 
ry out to a comedy climax in his 
latest two-reel comedy mix-up. 

“The Gingham Girl” is cooked for 
release April 18. 

A novelty in the hilarity which al- 
ways follows the entrance of Louise 
Fazenda on any film scene will, in 
“The Gingham Girl,” be provided by 
a pet duck which reveals an intel- 


Speedy Comedies 
For Reo Builders 


Mack Sennett has been declared the 
official comedy purveyor to the Reo 
Motor Car Company; at least the 
declaration is implied in that organi- 
zation’s recent issue of “The Reo 
Spirit” which is the company’s official 
organ circulating among its thousands 
of employees throughout the United 
States. 

“We are now using Sennett Come- 
dies to entertain our employees,” 
writes Arthur A. Sinclair, Social Di- 
rector of the great motor car institu- 
tion at Lansing, Michigan, where a 
fine and beautifully appointed pro- 
jection room has been fitted up for 
the company’s theater and where 
hereafter “the cares that infest the 


“Rube” Is Always 
Good For a Laugh 


NOTICE TO EXHIBITORS 

Fifty different poses of Mack Sennett Bathing Girls and Comedians 
have been selected from more than 800 plates for distribution to Ex- 
hibitors. These are all copyrighted photographs, printed from the 
original negatives and were taken at picturesque locations along the 
Pacific Coast. They are very beautiful pictures and may be had at the 
following rates: 

Set of 10 (assorted) 8x10 size $2.00 
Set of 25 (assorted) 8x10 size 4.00 
Set of 50 (assorted) 8x10 size 7.50 
FulJ information concerning these new lobby sets may be had on ap- 
plication to the 

LOBBY DEPARTMENT, MACK SENNETT STUDIO 



Heroine’s Pet Duck Takes to the ‘Flowing Bowl’ 



Left to right in foreground, Isabelle Keep, Billy Bevan, Louise Fazenda and Eva Thatcher. 




SjfiflB ttf Censorship for 
I f the Censor 



By Charlie Murray 


A burglar is a sneak. 


Motion picture producers and ex- 
hibitors are not alarmed at the 
thought of censorship, but they want 
the public to do the censoring — and 
there isn’t any other kind so effective, 
immediate and final. 

It is undersirable that a crowd of 
self - appointed, “holier - than - thou” 
meddlers should wield so powerful a 
weapon as the censorship club 

The motion picture is closely re- 
lated to the press in the immediacy 
of its appeal, in its timeliness and 


Everybody has a birthday except 
an old-maid. 

* * * 

England is batting a thousand in 
the League of Nations. 

* * * 

I hope the crook that visited mfe 
will have to live in Russia. 

* * * 

Never compare a one-dollar watch 
with a fifty-dollar clock. 

* * * 

There are other places to trim a 
man besides a barber shop. 

* * * 

Permit your employer to earn as 
much as he can — you’ll be surer to 
get yours. 

* * * 

If some people had their clothes 
made .to fit their dispositions they’d 
never get into ’em. 


“circulation.” 

Any censorship plan that cramps 
picture producers will reach the news- 
paper as inevitably as bigotry thrives 
on opportunity. 

The value of such judgments as are 
set up by “cliques,” “circles” and 
“leagues” is not, and never has been, 
in line either with good art, good 
morals or good common sense. Such 
censorship refused Charles Rann Ken- 
nedy’s “Servant in the House” a hear- 
ing, condemned George Bernard 
Shaw’s “Mrs. Warren’s Profession,” 
and Brieux’ “Damaged Goods,” and 
would stop the hand of progress if 
it could. 

The field of public opinion is the 
domain wherein must be settled ques- 
tions of this kind. In this realm — the 
field of American thought — things 
noxious, purient and evil just natur- 
ally die. 


NEW MACK SENNETT 

COMEDY RELEASES 


Current Attractions 


We need no blundering “commit- 
tees,” like amateur gardeners, to lay 
about them with the club of censor- 
ship, killing much healthy growth in 
order to destroy a few bad weeds 
which if left in the darkness that 
nourished them, would quickly perish 
in their own rottenness. 


“GEE WHIZ!” APRIL 4 
“THE GINGHAM GIRL” 
APRIL 18 
Future Releases 
“FRESH FROM THE CITY” 
“BY GOLLY!” 

“LET ’ER GO!” 


Louise Fazenda, besides being one 
of the most popular of comediennes, 
is making a reputation as an artiste 
in letters. Her recent literary con- 
tribution to “Classic” was enthusias- 
tically accepted, paid for and more of 
the same kind of “copy” demanded. 
It is called “Impressions.” 


Logical Title 

Is Important 

In selecting “Gee Whiz,” as the 
title for his next two-reel comedy 
feature, Mack Sennett was as zealous 
for a perfect fit as Gilbert was in his 
verse about “making the punishment 
fit the crime,” or as Mr. Shakespeare 
was when he finished his comedy 
and couldn’t think of a name until 
“As You Like It” popped into his 
head. 

You’ve just got to get the right 
name for a play. It’s as important as 
naming the baby. Imagine Charlie 
Murray roaming the world as Har- 
old; Kalla Pasha as Percival, or Tur- 
pin as Ben Lomond. It’s the same with 
a play. You just couldn’t call “Othel- 
lo,’ “Who’s Got the Handkerchief?” 
Imagine “The Easiest Way” mas- 
querading as “Back to Rector’s.” 

Charlie Murray says he never knew 
a title so aptly to fit a plot as “Gee 
Whiz!” matches its. “There isn’t a 
thing in the whole story,” he says, 
“that contradicts the title in even the 
most minute particular.” 

Kalla Pasha, when he was taught 
to pronounce it, said that “Gee 
Whiz!” reminded him of the snow 
clad mountains, the wind swept, wave- 
beaten cliffs of his dear Turkey and 
of the long winter evenings of his 
boyhood spent in the fertile meadows 
of his loved homeland off the coast 
of Constantinople. 

Eddie Gribbon liked the title too. 
He said it made him think fondly of 
his big brother. 

Fanny Kelly was a bit piqued be- 
cause they didn’t cast her in the title 
role and wouldn’t be consoled even 
when it was pointed out that there 
wasn’t any title role. 

Harriet Hammond was bound to 
approve the title. She really was re- 
sponsible for it. "You are to olav the 
role of the wife of Kalla Pasha.” said 
Mr. Sennett to the tiny dimpled star 
of many a Sennett comedy when cast- 
ing the farce. 

Gee Whiz!” said Miss Hammond in 
profound, horrified consternation, 
turning her deep blue eyes on the 


\L 


Traffic Cops 
Will Interfere 


It is undisputed that to western 
genius is due a type of farce that 
is characteristically American. “It 
is,’ says Mr. Sennett, “the only form 
of dramatic expression in which 
America has produced a distinct and 
individual utterance. It began with 
Charles Hoyt.” 

Speed is one of the essentials of 
farce, and in that regard and on that 
account, the filmed production sur- 
passes the staged, for “not a word is 
wasted.” 

It is all action. The story must un- 
fold itself, the complications must 
ensue, and the plot must proceed on 
the wings of action. That’s why the 
Mack Sennett product is the highest 
form of farcial art. Mr. Sennett has 
specialized in this kind of entertain- 
ment. He has developed the stage 
farce to a point of speed that leaves 
imitations halting and out of breath 
in the far distance. 


formidable form of the Terrible Turk. 
“Good,” said Mr. Sennett. 

“?,” questioned Miss Hammond 
with her orbs. 

“You’ve given me the title,” said 
Mr. Sennett. “We’ll call this comedy 
‘Gee Whiz!’” 


People like to laugh. By making 
Mack Sennett Comedies THE feature 
of their weekly programmes, in lobby 
billing and in advertisements, exhibi- 
tors are making the biggest profits in 
the history of their theatres. 


mc&ssaiEn 



Paramount 
Mack Sennett 
Comedies 


Published at 
1712 Allesandro Street 
Los Angeles 




Personify ‘Good Form’ in Mack Sennett Comedy 



Center, Marie Prevost and the Sennett Great Dane, Teddy; upper left, Phyllis Haver; upper right, Marie Prevost, and lower left, Harriet Hammond. 



Scanned from the collection of 

Karl Thiede 


Coordinated by the 
Media History Digital Library 
www.mediahistoryproject.org